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THE RELATIONSHIP BETWEEN MUSIC, TECHNOLOGY, AND LISTENERS IN THE DIGITAL AGE

Yıl 2024, , 121 - 137, 15.09.2024
https://doi.org/10.33692/avrasyad.1465993

Öz

This article analyses the intricate dynamics of music technology's growth and its effect on listener involvement and the economic framework of the music industry. These highlights are the crucial significance of technical advancement in revolutionising the process of creating, distributing, and consuming music, specifically emphasising the shift from conventional to digital media. The study highlights the need to grasp historical backgrounds, technological milestones, and legal issues in understanding the intricate connection between artists, listeners, and the industry in the digital age. Therefore, seeks to elucidate the diverse effect of music technology on listener engagement and economic factors through thorough analysis, including case studies and projections for the future. This article advocated for considering ethical considerations, fostering ties between artists and listeners and investigating new business structures to create a sustainable and thriving music ecosystem amidst the continuous digital transformation.

Kaynakça

  • Adu, T., & Walt, T. (2021). Management of e-resources in academic libraries in Ghana: Copyright implications. IFLA Journal, 48(4), 580-597. https://doi.org/10.1177/03400352211027188
  • Araújo, V. B. d., & Paula, L. d. (2017). Phonographic industry: summit and decline in the 20th century. Journal of Media Critiques, 3(10), 133-150. https://doi.org/10.17349/jmc117209
  • Bakir, V. (2020). Psychological operations in digital political campaigns: Assessing Cambridge Analytica’s psychographic profiling and targeting. Frontiers in Communication, 5. https://doi.org/10.3389/fcomm.2020.00067
  • Bayley, J. (2024). IFPI global music report: Global recorded music revenues grew 10.2% in 2023. The International Federation of the Phonographic Industry. https://www.ifpi.org/ifpi-global-music-report-global-recorded-music-revenues-grew-10-2-in-2023/
  • Bengtsson, L., & Edlom, J. (2023). Commodifying participation through choreographed engagement: The Taylor Swift case. Arts and the Market, 13(2), 65-79. https://doi.org/10.1108/aam-07-2022-0034
  • Beuscart, J.-S., Coavoux, S., & Garrocq, J.-B. (2023). Listening to music videos on YouTube. Digital consumption practices and the environmental impact of streaming. Journal of Consumer Culture, 23(3), 654-671. https://doi.org/10.1177/14695405221133266
  • Brown, S., & Knox, D. (2016). Why go to pop concerts? The motivations behind live music attendance. Musicae Scientiae, 21(3), 233-249. https://doi.org/10.1177/1029864916650719
  • Canbay, A., & Başpınar, S. (2021). Müzik sanatında dijital dönüşüm. In S. Yöndem & Y. Durak (Eds.), Dijital dönüşüm sürecinde müzik (pp. 1-18). Nobel Bilimsel Eserler.
  • Colbjørnsen, T. (2021). The streaming network: Conceptualizing distribution economy, technology, and power in streaming media services. Convergence, 27(5), 1264-1287. https://doi.org/10.1177/1354856520966911
  • Collins, A. (2013). Neuroscience meets music education: Exploring the implications of neural processing models on music education practice. International Journal of Music Education, 31(2), 217-231. https://doi.org/10.1177/0255761413483081
  • DeLeon, J., & Brown, L. (2023). Understanding social media presence and financial success in digital competition. Journal of Strategy and Management, 16(3), 576-591. https://doi.org/10.1108/jsma-07-2022-0118
  • Ding, J. (2022). Fandom and popular culture in the new media age specialization. The Frontiers of Society, Science and Technology, 4(10), 39-43. https://doi.org/10.25236/FSST.2022.041007
  • Dobrota, S., & Ercegovac, I. (2016). Music preferences about music education, informal influences and familiarity with music amongst young people in Croatia. British Journal of Music Education, 34(1), 41-55. https://doi.org/10.1017/s0265051716000358
  • Edlom, J., & Karlsson, J. (2021). Keep the fire burning: Exploring the hierarchies of music fandom and the motivations of superfans. Media and Communication, 9(3), 123-132. https://doi.org/10.17645/mac.v9i3.4013
  • Erlmann, V. (2023). Music and digital media: A planetary anthropology. Journal of Anthropological Research, 79(3), 401–403. https://doi.org/10.1086/725747
  • Goto, M. (2015). Music Cultures Opened Up by Music Technologies. International Conference on Culture and Computing (Culture Computing) (pp. 1-2). IEEE. https://doi.org/10.1109/Culture.and.Computing.2015.54
  • Grewe, Y., Eibl, P., Simon, C., Torcoli, M., Rieger, D., & Scuda, U. (2021). MPEG-H audio production workflows for a next-generation audio experience in broadcast, streaming and music. In Audio Engineering Society Convention 151. https://www.aes.org/e-lib/browse.cfm?elib=21512
  • Harmon, J., & Scott, D. (2017). The extended leisure experiences of music scene participation. Leisure/Loisir, 41(4), 585-605. https://doi.org/10.1080/14927713.2017.1399818
  • Huang, X., & Ang, M. F. (2022). Value flow in music content production: A case study. International Journal of Academic Research in Business and Social Sciences, 12(12), 2190 – 2203. https://doi.org/10.6007/ijarbss/v12-i12/16014
  • Iqbal, M. (2024). Spotify usage and revenue statistics (2023). Business of Apps. https://www.businessofapps.com/data/spotify-statistics/
  • Joseph, D. (2021). Battle pass capitalism. Journal of Consumer Culture, 21(1), 68-83. https://doi.org/10.1177/1469540521993930
  • Jucu, I. (2019). Music geographies and iconic music legends: mapping Céline Dion’s outstanding contribution to music and global popular music culture. Territorial Identity and Development, 93-127. https://doi.org/10.23740/tid120195
  • Kanuri, V., & Pattabhiramaiah, A. (2022). Scarcity-driven monetization of digital content. Frontiers in Research Metrics and Analytics, 7. https://doi.org/10.3389/frma.2022.995202
  • Kosteletos, G., & Georgaki, A. (2014). From digital "Echos" to virtual "Ethos": Ethical aspects of music technology. Proceedings ICMC|SMC|2014, Greece, 193-200. https://doi.org/10.5281/zenodo.850500
  • Lee, C., Li, C., Chen, Z., Chen, S., & Lai, Y. (2019). A novel authentication scheme for anonymity and digital rights management based on elliptic curve cryptography. International Journal of Electronic Security and Digital Forensics, 11(1), 96-117. https://doi.org/10.1504/ijesdf.2019.10016644
  • Leeuwis, N., Pistone, D., Flick, N., & Bommel, T. (2021). A sound prediction: EEG-based neural synchrony predicts online music streams. Frontiers in Psychology, 12. https://doi.org/10.3389/fpsyg.2021.672980

Di̇ji̇tal Çağda Müzi̇k, Teknoloji̇ ve Di̇nleyi̇ci̇ler Arasındaki̇ İli̇şki̇

Yıl 2024, , 121 - 137, 15.09.2024
https://doi.org/10.33692/avrasyad.1465993

Öz

Bu makale, müzik teknolojisindeki büyümenin karmaşık dinamiklerini ve bunun dinleyici katılımı ile müzik endüstrisinin ekonomik çerçevesi üzerindeki etkisini analiz etmektedir. Özellikle geleneksel medyadan dijital medyaya geçişin vurgulandığı bu çalışmada, müzik üretimi, dağıtımı ve tüketimi süreçlerinde devrim yaratan teknik ilerlemenin hayati önemi vurgulanmaktadır. Çalışma, dijital çağda sanatçılar, dinleyiciler ve endüstri arasındaki karmaşık bağlantıyı anlamak için tarihsel arka planları, teknolojik kilometre taşlarını ve yasal konuları kavrama ihtiyacını vurgulamaktadır. Bu nedenle, müzik teknolojisinin dinleyici katılımı ve ekonomik faktörler üzerindeki çeşitli etkilerini, vaka çalışmaları ve geleceğe yönelik projeksiyonlar da dâhil olmak üzere kapsamlı analizler yoluyla aydınlatmayı amaçlamaktadır. Bu makale, sürekli dijital dönüşümün ortasında sürdürülebilir ve gelişen bir müzik ekosistemi yaratmak için etik hususların dikkate alınmasını, sanatçılar ve dinleyiciler arasındaki bağların güçlendirilmesini ve yeni iş yapılarının araştırılmasını savunmaktadır.

Kaynakça

  • Adu, T., & Walt, T. (2021). Management of e-resources in academic libraries in Ghana: Copyright implications. IFLA Journal, 48(4), 580-597. https://doi.org/10.1177/03400352211027188
  • Araújo, V. B. d., & Paula, L. d. (2017). Phonographic industry: summit and decline in the 20th century. Journal of Media Critiques, 3(10), 133-150. https://doi.org/10.17349/jmc117209
  • Bakir, V. (2020). Psychological operations in digital political campaigns: Assessing Cambridge Analytica’s psychographic profiling and targeting. Frontiers in Communication, 5. https://doi.org/10.3389/fcomm.2020.00067
  • Bayley, J. (2024). IFPI global music report: Global recorded music revenues grew 10.2% in 2023. The International Federation of the Phonographic Industry. https://www.ifpi.org/ifpi-global-music-report-global-recorded-music-revenues-grew-10-2-in-2023/
  • Bengtsson, L., & Edlom, J. (2023). Commodifying participation through choreographed engagement: The Taylor Swift case. Arts and the Market, 13(2), 65-79. https://doi.org/10.1108/aam-07-2022-0034
  • Beuscart, J.-S., Coavoux, S., & Garrocq, J.-B. (2023). Listening to music videos on YouTube. Digital consumption practices and the environmental impact of streaming. Journal of Consumer Culture, 23(3), 654-671. https://doi.org/10.1177/14695405221133266
  • Brown, S., & Knox, D. (2016). Why go to pop concerts? The motivations behind live music attendance. Musicae Scientiae, 21(3), 233-249. https://doi.org/10.1177/1029864916650719
  • Canbay, A., & Başpınar, S. (2021). Müzik sanatında dijital dönüşüm. In S. Yöndem & Y. Durak (Eds.), Dijital dönüşüm sürecinde müzik (pp. 1-18). Nobel Bilimsel Eserler.
  • Colbjørnsen, T. (2021). The streaming network: Conceptualizing distribution economy, technology, and power in streaming media services. Convergence, 27(5), 1264-1287. https://doi.org/10.1177/1354856520966911
  • Collins, A. (2013). Neuroscience meets music education: Exploring the implications of neural processing models on music education practice. International Journal of Music Education, 31(2), 217-231. https://doi.org/10.1177/0255761413483081
  • DeLeon, J., & Brown, L. (2023). Understanding social media presence and financial success in digital competition. Journal of Strategy and Management, 16(3), 576-591. https://doi.org/10.1108/jsma-07-2022-0118
  • Ding, J. (2022). Fandom and popular culture in the new media age specialization. The Frontiers of Society, Science and Technology, 4(10), 39-43. https://doi.org/10.25236/FSST.2022.041007
  • Dobrota, S., & Ercegovac, I. (2016). Music preferences about music education, informal influences and familiarity with music amongst young people in Croatia. British Journal of Music Education, 34(1), 41-55. https://doi.org/10.1017/s0265051716000358
  • Edlom, J., & Karlsson, J. (2021). Keep the fire burning: Exploring the hierarchies of music fandom and the motivations of superfans. Media and Communication, 9(3), 123-132. https://doi.org/10.17645/mac.v9i3.4013
  • Erlmann, V. (2023). Music and digital media: A planetary anthropology. Journal of Anthropological Research, 79(3), 401–403. https://doi.org/10.1086/725747
  • Goto, M. (2015). Music Cultures Opened Up by Music Technologies. International Conference on Culture and Computing (Culture Computing) (pp. 1-2). IEEE. https://doi.org/10.1109/Culture.and.Computing.2015.54
  • Grewe, Y., Eibl, P., Simon, C., Torcoli, M., Rieger, D., & Scuda, U. (2021). MPEG-H audio production workflows for a next-generation audio experience in broadcast, streaming and music. In Audio Engineering Society Convention 151. https://www.aes.org/e-lib/browse.cfm?elib=21512
  • Harmon, J., & Scott, D. (2017). The extended leisure experiences of music scene participation. Leisure/Loisir, 41(4), 585-605. https://doi.org/10.1080/14927713.2017.1399818
  • Huang, X., & Ang, M. F. (2022). Value flow in music content production: A case study. International Journal of Academic Research in Business and Social Sciences, 12(12), 2190 – 2203. https://doi.org/10.6007/ijarbss/v12-i12/16014
  • Iqbal, M. (2024). Spotify usage and revenue statistics (2023). Business of Apps. https://www.businessofapps.com/data/spotify-statistics/
  • Joseph, D. (2021). Battle pass capitalism. Journal of Consumer Culture, 21(1), 68-83. https://doi.org/10.1177/1469540521993930
  • Jucu, I. (2019). Music geographies and iconic music legends: mapping Céline Dion’s outstanding contribution to music and global popular music culture. Territorial Identity and Development, 93-127. https://doi.org/10.23740/tid120195
  • Kanuri, V., & Pattabhiramaiah, A. (2022). Scarcity-driven monetization of digital content. Frontiers in Research Metrics and Analytics, 7. https://doi.org/10.3389/frma.2022.995202
  • Kosteletos, G., & Georgaki, A. (2014). From digital "Echos" to virtual "Ethos": Ethical aspects of music technology. Proceedings ICMC|SMC|2014, Greece, 193-200. https://doi.org/10.5281/zenodo.850500
  • Lee, C., Li, C., Chen, Z., Chen, S., & Lai, Y. (2019). A novel authentication scheme for anonymity and digital rights management based on elliptic curve cryptography. International Journal of Electronic Security and Digital Forensics, 11(1), 96-117. https://doi.org/10.1504/ijesdf.2019.10016644
  • Leeuwis, N., Pistone, D., Flick, N., & Bommel, T. (2021). A sound prediction: EEG-based neural synchrony predicts online music streams. Frontiers in Psychology, 12. https://doi.org/10.3389/fpsyg.2021.672980
Toplam 26 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Müzik Sosyolojisi
Bölüm Makaleler
Yazarlar

Cihan Tabak 0000-0002-1060-9499

Gülsüm Aysu Güzel 0009-0006-7759-7599

Erken Görünüm Tarihi 11 Eylül 2024
Yayımlanma Tarihi 15 Eylül 2024
Gönderilme Tarihi 6 Nisan 2024
Kabul Tarihi 3 Haziran 2024
Yayımlandığı Sayı Yıl 2024

Kaynak Göster

APA Tabak, C., & Aysu Güzel, G. (2024). THE RELATIONSHIP BETWEEN MUSIC, TECHNOLOGY, AND LISTENERS IN THE DIGITAL AGE. Avrasya Uluslararası Araştırmalar Dergisi, 12(40), 121-137. https://doi.org/10.33692/avrasyad.1465993

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